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Rh professor of form and drawing in the College for the Training of Teachers, and in 1890 she was elected president of the art department of the National Educational Association. In 1891 she was made director of the art department in the Drexel Institute of Art, Science and Industry, in Philadelphia, Pa. Mrs. Carter has been appointed on many industrial, educational and art committees. She does not confine her energies to local work, but has an interest in general art education, believing enthusiastically in the necessity of educating and elevating public taste by beginning early with the training of children for a love of the aesthetic, thr jugh habits of close observation of the beautiful. Mrs. Carter stands among the leading educators, and is an ardent worker for art education.

CARTER, Miss Mary Adaline Edwards, industrial art instructor and designer, born in Hinesburgh, Chittenden county, near Burlington, Vt. She is the oldest child of Edward H. and Mary

Adaline Kellogg Carter. Her parents were natives of Vermont, descended from the early New England settlers, of English and Scotch origin. Her early education was chiefly from nature and object study. After her eighth summer she attended private and public schools in Burlington, Vt., and in Vineland, N. J., where her family removed in 1866. The years of country life spent in southern New Jersey during youth were tilled with formative influences that laid a broad and sound basis for her life-work. Circumstances and environments led to finding occupations for herself, or to having them given her, that promoted inventive and executive powers and stimulated love tor sc ience and art. Thirst for larger opportunities and higher education developed, but adversities came, over-work, intense mental strain, then long and severe illness. After health was restored, she was by degrees led to industrial art as her vocation. Though beset bv obstacles that would have turned aside one of less resoluteness, her course has been constantly progressive and largely successful. With simply the intention of becoming proficient as a teacher of drawing, she entered the Woman's Art School, Cooper Onion, New York. After graduating with highest honors, in 1876, her services were immediately required as a designer for embroidery. While thus engaged, part of her time was still devoted to art study, and throughout her years of working she has been a constant student in art and other educational subjects. In the Centennial Exhibition, in 1876, she made a special study of the needlework, art embroideries and textiles of all countries. Not long after, her water-color studies from nature attracted the notice of John Bennett, the English painter of art-pottery, and she became his pupil and assistant. In 1879 a number of pieces of faience decorated by her were sent by invitation to the exhibition of Howell, James & Co., London, England. One of her vases was presented to Sir Frederick Leighton, president of the Royal Academy, and others were sold to art museums in England, to be kept as examples of American art pottery. The same year some of her work in faience was shown in New York, and won much praise. When the Associated Artists began their united enterprise which has done so much in revolutionizing and elevating household taste and interior decoration of American home and public buildings, Miss Carter's services were secured by Louis Tiffany, and she was connected with them several years. At first having to do with all the kinds 01 work undertaken, glass, mosaics, metals, wood, embroideries, hangings, wall and ceiling coverings, painting or anything else decoratively used in buildings, she was the first woman thus employed. Later, having developed marked ability in plastic art, she had special cliarge of their pottery and modeling department. Her ornamental relief-work, panels and friezes were often used with heads and figures by St. Gaudens. and combined with work by Colman, Armstrong and oilier well-known artists in the decoration of public and private buildings in New York and different parts of the country. Her designs for memorial and other windows, for decoration of interiors and for different purposes have been used in churches and homes, both east and west. Frequently artists, draughtsmen, teachers and others have sought instruction from her in special subjects. At different times she taught classes of children in drawing, and in the Woman's Art School one in porcelain painting. Since 1886 she has been instructor of the free classes in clay-modeling, applied design and normal training in form-Study and drawing for the Young Woman's Christian Association of New York. The courses of study in those classes and all accessories have been planned by her and most effectively carried out. During the past seventeen years Miss Carter has resided with her family in the upper suburban part of New York City. She is a stanch member of the Woman's Christian Temperance Union and strongly interested in the leading questions and reforms of the day.

CARTWRIGHT, Mrs. Florence Byrne, poet, born in Galena. Ill., 27th December, 1863. She resided for many years in Grass Valley, Cal., where she had charge of the postoffice until May, 1890 In June 1890. she became the wife of Dr. Richard Cartwright, of Salem. Ore., who is a descendant of Edmund Cartwright, D.D.. F.R.S., inventor of the power loom, and of Major Cartw right, of colonial fame. Mrs. Cartwright's sympathies are purely Californian, as her parents moved to that State when she was only four months old. Not being strong, she was unable to take a university course, but she